Chords for Intermediate Piano Lesson "Misty"
Tempo:
115.2 bpm
Chords used:
Eb
Ab
Abm
Bbm
Db
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gm]
[Eb]
Welcome to part 2 of MISTI analysis.
In part 1 we covered the plurality idea of the G minor being the top of the E flat major 7.
Assuming again everyone knows their chords, the entire Let's Enjoy Piano method deals
with thinking in patterns, knowing your major and minor chords and their inversions.
And if you think in patterns, 90% of melodies are chord tones with some passing tones here and there.
So if you have your chords down, the melody will be right below your fingertips.
As it is, as you can see in MISTI, right in the G minor chord, top part of the E flat
major 7, [C] [Bbm]
second chord B minor 9 or B minor 7, top of the minor [Db] 7 is a D [Bbm] flat major chord,
[Db] the 9 being [Bbm] the melody, D flat major 7, which makes it a B [Bb] flat minor 9 chord.
And then it goes down an E flat chord.
[Eb] Here's your E flat major into an A flat major [Ab] 7.
And the melody then goes up an A flat major 7 chord.
A flat major 7 with the major 7 starting, the melody starts on the major [G] 7, goes right
up through the [Ab] chord.
And then we go into an A flat minor [B] 9, which you have a B, a major chord is the top of
the minor 7, there's a B [Abm] major chord.
[Ebm] There's a B major 7, which makes it an A flat minor 9 [Abm] chord.
To a D flat 9 chord, and the top of a 9 chord is a minor on the top of the 9, or a half
diminished, which we haven't covered too much yet, but if you know your half diminished
chords, minor 7 [Fm] flat 5, there's F minor 7 flat 5, the first inversion of a minor 7 flat
5 is a minor 6 chord, [Abm]
and there's the A flat minor 6, which is the top of the D flat 9.
And then, let's see, we go into, let's [F] take that from there so we don't get too crazy here.
So here's the beginning [Eb] again.
A flat major 7 with the G minor, up a B flat minor 9 chord, [Bbm] down E [Eb] flat, into A flat [Ab] major
7, up an A flat major 7, into an A flat minor 9, [Abm] [B]
with a B major 7 on top, [Abm] [Db]
and D flat 9 with
an A flat minor 6, that's the top of a 9 chord, we'll do a couple lessons on 9 chords as we go through.
But this is all in the plurality chapter of the Let's Enjoy Piano Self-Expression Method,
page 55, and I have a page of essential knowledge on every chord, so 9 chords devoted, a page
on major 9s, minor 9s, regular 9s.
This is a regular D flat 9, based on the D flat 7, which is based on the diminished chord.
And then we continue with E flat major [Gm] 7, G minor, into C [Cm] minor, A flat, I mean F minor
7 with [Fm] A flat, [Ab] B flat 7 flat [Bb] 9, [Ab] which has a diminished chord as the top, off the 7,
and you can run it into E [Eb] flat.
So that's the analysis of the first full section of MISTI, and I hope that made sense to you.
If you check the website, [N] letsenjoypiano.com, it's got the Let's Enjoy Piano book, as well
as a quick reference guide for playing from a lead sheet.
It's a breakthrough in analysis of looking at a lead sheet for trigger notes, and getting
the entire picture in front of you in an instant.
So it really is a good reference guide.
Check it out, hope that helps you out, and I'll continue with more lessons as we go through the weeks.
Thank you very much.
[Eb]
Welcome to part 2 of MISTI analysis.
In part 1 we covered the plurality idea of the G minor being the top of the E flat major 7.
Assuming again everyone knows their chords, the entire Let's Enjoy Piano method deals
with thinking in patterns, knowing your major and minor chords and their inversions.
And if you think in patterns, 90% of melodies are chord tones with some passing tones here and there.
So if you have your chords down, the melody will be right below your fingertips.
As it is, as you can see in MISTI, right in the G minor chord, top part of the E flat
major 7, [C] [Bbm]
second chord B minor 9 or B minor 7, top of the minor [Db] 7 is a D [Bbm] flat major chord,
[Db] the 9 being [Bbm] the melody, D flat major 7, which makes it a B [Bb] flat minor 9 chord.
And then it goes down an E flat chord.
[Eb] Here's your E flat major into an A flat major [Ab] 7.
And the melody then goes up an A flat major 7 chord.
A flat major 7 with the major 7 starting, the melody starts on the major [G] 7, goes right
up through the [Ab] chord.
And then we go into an A flat minor [B] 9, which you have a B, a major chord is the top of
the minor 7, there's a B [Abm] major chord.
[Ebm] There's a B major 7, which makes it an A flat minor 9 [Abm] chord.
To a D flat 9 chord, and the top of a 9 chord is a minor on the top of the 9, or a half
diminished, which we haven't covered too much yet, but if you know your half diminished
chords, minor 7 [Fm] flat 5, there's F minor 7 flat 5, the first inversion of a minor 7 flat
5 is a minor 6 chord, [Abm]
and there's the A flat minor 6, which is the top of the D flat 9.
And then, let's see, we go into, let's [F] take that from there so we don't get too crazy here.
So here's the beginning [Eb] again.
A flat major 7 with the G minor, up a B flat minor 9 chord, [Bbm] down E [Eb] flat, into A flat [Ab] major
7, up an A flat major 7, into an A flat minor 9, [Abm] [B]
with a B major 7 on top, [Abm] [Db]
and D flat 9 with
an A flat minor 6, that's the top of a 9 chord, we'll do a couple lessons on 9 chords as we go through.
But this is all in the plurality chapter of the Let's Enjoy Piano Self-Expression Method,
page 55, and I have a page of essential knowledge on every chord, so 9 chords devoted, a page
on major 9s, minor 9s, regular 9s.
This is a regular D flat 9, based on the D flat 7, which is based on the diminished chord.
And then we continue with E flat major [Gm] 7, G minor, into C [Cm] minor, A flat, I mean F minor
7 with [Fm] A flat, [Ab] B flat 7 flat [Bb] 9, [Ab] which has a diminished chord as the top, off the 7,
and you can run it into E [Eb] flat.
So that's the analysis of the first full section of MISTI, and I hope that made sense to you.
If you check the website, [N] letsenjoypiano.com, it's got the Let's Enjoy Piano book, as well
as a quick reference guide for playing from a lead sheet.
It's a breakthrough in analysis of looking at a lead sheet for trigger notes, and getting
the entire picture in front of you in an instant.
So it really is a good reference guide.
Check it out, hope that helps you out, and I'll continue with more lessons as we go through the weeks.
Thank you very much.
Key:
Eb
Ab
Abm
Bbm
Db
Eb
Ab
Abm
_ _ _ _ _ _ _ _
_ _ _ _ _ [Gm] _ _ _
_ _ [Eb] _ _ _ _ _ _
_ _ _ Welcome to part 2 of MISTI analysis.
In part 1 we covered the plurality idea of the G minor being the top of the E flat major 7. _
_ _ _ Assuming again everyone knows their chords, the entire Let's Enjoy Piano method deals
with thinking in patterns, knowing your major and minor chords and their inversions.
And if you think in patterns, _ 90% of melodies are chord tones with some passing tones here and there.
So if you have your chords down, the melody will be right below your fingertips.
_ As it is, as you can see in MISTI, right in the G minor chord, _ _ _ _ _ _ top part of the E flat
major 7, _ [C] _ _ [Bbm] _ _ _
second chord B minor 9 or B minor 7, top of the minor [Db] 7 _ is a D [Bbm] flat major chord,
_ _ _ _ _ [Db] the 9 being [Bbm] the melody, D flat major 7, which makes it a B [Bb] flat minor 9 chord.
_ _ And then it goes down an E flat chord.
[Eb] _ Here's your E flat major _ into an A flat major [Ab] 7. _ _
_ _ _ _ And the melody then goes up an A flat major 7 chord. _ _ _ _
A flat major 7 with the major 7 starting, the melody starts on the major [G] 7, goes right
up through the [Ab] chord.
_ _ _ _ _ _ _ _
_ _ _ And then we go into an A flat minor [B] 9, _ _ _ _ which you have a B, a major chord is the top of
the minor 7, there's a B [Abm] major chord.
_ _ _ [Ebm] There's a B major 7, which makes it an A flat minor 9 [Abm] chord. _ _
_ _ _ _ To a D flat 9 chord, _ and the top of a 9 chord is a minor on the top of the 9, _ or a half
diminished, which we haven't covered too much yet, but if you know your half diminished
chords, minor 7 [Fm] flat 5, _ _ there's F minor 7 flat 5, the first inversion of a minor 7 flat
5 is a minor 6 chord, [Abm] _
and there's the A flat minor 6, which is the top of the D flat 9. _
_ _ _ _ _ _ _
And then, let's see, we go into, let's [F] take that from there so we don't get too crazy here.
So here's the beginning [Eb] again. _
A flat major 7 with the G minor, _ _ _ _ _ _ up a B flat minor 9 chord, _ [Bbm] _ _ _ down E [Eb] flat, into A flat [Ab] major
7, _ _ _ _ _ _ up an A flat major 7, _ _ _ into an A flat minor 9, [Abm] _ _ _ _ [B] _
with a B major 7 on top, _ [Abm] _ [Db] _
_ _ _ and D flat 9 with
an A flat minor 6, _ _ that's the top of a 9 chord, we'll do a _ couple lessons on 9 chords as we go through.
_ _ But this is all in the plurality chapter of the Let's Enjoy Piano Self-Expression Method,
page 55, _ and I have a page of essential knowledge on every chord, so 9 chords devoted, a page
on major 9s, minor 9s, regular 9s.
This is a regular D flat 9, _ _ based on the D flat 7, which is based on the diminished chord. _ _ _ _
_ _ _ _ _ _ _
And then we continue with E flat major [Gm] 7, _ G minor, into C [Cm] minor, _ _ _ _ _ _ A flat, I mean F minor
7 with [Fm] A flat, _ _ _ _ [Ab] B flat 7 flat [Bb] 9, _ [Ab] which has a diminished chord as the top, off the 7,
_ and you can run it _ _ _ _ into E [Eb] flat. _ _ _ _ _ _ _
So that's the analysis of the first full section of MISTI, and I hope that made sense to you.
If you check the website, [N] _ letsenjoypiano.com, it's got the Let's Enjoy Piano book, as well
as a quick reference guide for playing from a lead sheet.
_ It's a breakthrough in analysis of looking at a lead sheet for trigger notes, and getting
the entire _ picture in front of you _ in an instant.
So it really is a good reference guide.
Check it out, hope that helps you out, and I'll continue with more lessons as we go through the weeks.
Thank you very much. _ _ _
_ _ _ _ _ [Gm] _ _ _
_ _ [Eb] _ _ _ _ _ _
_ _ _ Welcome to part 2 of MISTI analysis.
In part 1 we covered the plurality idea of the G minor being the top of the E flat major 7. _
_ _ _ Assuming again everyone knows their chords, the entire Let's Enjoy Piano method deals
with thinking in patterns, knowing your major and minor chords and their inversions.
And if you think in patterns, _ 90% of melodies are chord tones with some passing tones here and there.
So if you have your chords down, the melody will be right below your fingertips.
_ As it is, as you can see in MISTI, right in the G minor chord, _ _ _ _ _ _ top part of the E flat
major 7, _ [C] _ _ [Bbm] _ _ _
second chord B minor 9 or B minor 7, top of the minor [Db] 7 _ is a D [Bbm] flat major chord,
_ _ _ _ _ [Db] the 9 being [Bbm] the melody, D flat major 7, which makes it a B [Bb] flat minor 9 chord.
_ _ And then it goes down an E flat chord.
[Eb] _ Here's your E flat major _ into an A flat major [Ab] 7. _ _
_ _ _ _ And the melody then goes up an A flat major 7 chord. _ _ _ _
A flat major 7 with the major 7 starting, the melody starts on the major [G] 7, goes right
up through the [Ab] chord.
_ _ _ _ _ _ _ _
_ _ _ And then we go into an A flat minor [B] 9, _ _ _ _ which you have a B, a major chord is the top of
the minor 7, there's a B [Abm] major chord.
_ _ _ [Ebm] There's a B major 7, which makes it an A flat minor 9 [Abm] chord. _ _
_ _ _ _ To a D flat 9 chord, _ and the top of a 9 chord is a minor on the top of the 9, _ or a half
diminished, which we haven't covered too much yet, but if you know your half diminished
chords, minor 7 [Fm] flat 5, _ _ there's F minor 7 flat 5, the first inversion of a minor 7 flat
5 is a minor 6 chord, [Abm] _
and there's the A flat minor 6, which is the top of the D flat 9. _
_ _ _ _ _ _ _
And then, let's see, we go into, let's [F] take that from there so we don't get too crazy here.
So here's the beginning [Eb] again. _
A flat major 7 with the G minor, _ _ _ _ _ _ up a B flat minor 9 chord, _ [Bbm] _ _ _ down E [Eb] flat, into A flat [Ab] major
7, _ _ _ _ _ _ up an A flat major 7, _ _ _ into an A flat minor 9, [Abm] _ _ _ _ [B] _
with a B major 7 on top, _ [Abm] _ [Db] _
_ _ _ and D flat 9 with
an A flat minor 6, _ _ that's the top of a 9 chord, we'll do a _ couple lessons on 9 chords as we go through.
_ _ But this is all in the plurality chapter of the Let's Enjoy Piano Self-Expression Method,
page 55, _ and I have a page of essential knowledge on every chord, so 9 chords devoted, a page
on major 9s, minor 9s, regular 9s.
This is a regular D flat 9, _ _ based on the D flat 7, which is based on the diminished chord. _ _ _ _
_ _ _ _ _ _ _
And then we continue with E flat major [Gm] 7, _ G minor, into C [Cm] minor, _ _ _ _ _ _ A flat, I mean F minor
7 with [Fm] A flat, _ _ _ _ [Ab] B flat 7 flat [Bb] 9, _ [Ab] which has a diminished chord as the top, off the 7,
_ and you can run it _ _ _ _ into E [Eb] flat. _ _ _ _ _ _ _
So that's the analysis of the first full section of MISTI, and I hope that made sense to you.
If you check the website, [N] _ letsenjoypiano.com, it's got the Let's Enjoy Piano book, as well
as a quick reference guide for playing from a lead sheet.
_ It's a breakthrough in analysis of looking at a lead sheet for trigger notes, and getting
the entire _ picture in front of you _ in an instant.
So it really is a good reference guide.
Check it out, hope that helps you out, and I'll continue with more lessons as we go through the weeks.
Thank you very much. _ _ _